Cavern Full of Ice and Teenagers - Production How to (Steemit Day 7: 21/01/2018)

ONCE AGAIN IM SORRY IM LATE AGAIN ILL TRY AND BE MORE FREQUENT WITH THESE BLOGS

So since I dropped 'Cavern Full of Ice and Teenagers' for the Steemit Music League Season 2 I thought i'd run through my most complex track ever (to be released ^^). Lets get cracking shall we?

Listen to Cavern Full of Ice and Teenagers below

https://dsound.audio/#/@poorkidbeats/cavern-full-of-ice-and-teenagers

So first things first lemme just say that this kick makes me as hard as a rock. I have never heard such a fat kick in my entire life, its like anime waifu thicc. Its just got a low end boosted and high end cut off. Now the song uses 3 different hats cause fuck the system. The first one has a big amount of reverb and a high sweep phaser on it to give the pitchy, wavy feeling. The second one sounds more like a high pitch cut off snare. The third is one has the same high sweep frequency phaser but has a shit loads of delay. ALSO, there's a duplicate hat delay sweep things in reverse. It gives the feel that the beat has that pulsating sorta feel to it (i keep saying feel all the time). Also this rising crashing aspect is definitely not ripping off Rich Chigga

OH YEAH theres a secret 4th hi hat that comes in the second half of the track which is totally normal cause ive gotta pretend im a trap artist and there's big ass sleigh bells on the offbeat because i want Steemit Santa to give me upvotes. In the background there's also a quiet hat loop cause whenever there is a gap in your mix you might as well throw in a hat loop, a droning synth or a distorted Amen break cause my name is Squarepusher.

So the main snare is pretty fucking thicc. Firstly I started with a sampled snare. Then timestretched it ever so gently to thicken up. Then i hit it with EFFECTOR because its my favorite plugin and it looks like you could locate German U-boats with it but actually i just added a small bit of lofi filter. It gives the snare a sound similar to bitcrushed snares and hats and it generally sounds chunky and also has that digital feeling to make sure we dont fuck with old hiphop this is the future. The reverb on it has almost no bass; in fact the whole snare has no bass cause hi-pass.

The song uses two different bases. The first one for the introduction is a fast distorted bass drone. The second is a simple bass made in 3xOsc. Its like the quietest bass ever but for a track based on tranquility and enlightenment, i thought bass heavy would be a bad idea.

Now onto the 2 synths used: the chordy one and the one named in my project 'BELLS OF HELLS'. For the droning chords, I used GMS. Using multiple voices and 2 main waveshapes consisting of a 'smooth sub' (kind of like me, haha gay joke) and behind that a 'silk' waveshape pitched up and fine tuned down. This is what created the detuning. Its Phaser, Distortion, trance filter and LoFi filter is all provided by GMS's own filters which ive realised are way more handy than i first expected. Below is the entire melody for the detuned chords.

As for the xylophone bell, I used Harmor. Its basically just a triple saw 2 timbre, high end boosted on harmors equalizer with heavy stereorized delay, small room reverb, heavily AMT phased and detuned at +12. Below is the bells melody first two arps (basically the root notes), there are others after it of course but i decided to put them all on different patterns and its almost midnight and i cant be fucked to fix it, help me.

And thats basically the whole track. A lesson to be learned from this track is as long as your melodies are catching and the aesthetics of the track are good, you dont need to be a genius with synths. This track relies hugely on the heavy use of percussion and wavy ass noises. I tend to start my tracks with drum loops and build them around there so thats really how this track was made tbh :P.

Thanks for reading through, appreciate that support.

love you full homo

-poorkid